Archive for June, 2009

(Review from allmusic.com)

Comic actors John Belushi and Dan Aykroyd received a lot of flak for their Blues Brothers shtick — mostly for the albums, not 1980′s beloved classic film. But they should be given credit for exposing many people to the music of blues and R&B veterans.

The Blues Brothers soundtrack was released on Atlantic Records. On the surface this doesn’t seem unusual, since the Blues Brothers’ Atlantic debut, Briefcase Full of Blues, was a number one album; but the movie was released by Universal, and its parent company, MCA, passed on the soundtrack.

The rollicking remake of the Spencer Davis Group’s “Gimme Some Lovin’” was a hit, featuring an arrangement notable for the horn section that replaces Steve Winwood’s rumbling organ work. Ray Charles has a good time with “Shake a Tail Feather”, and he’s helped out by Jake and Elwood Blues (Belushi and Aykroyd, respectively). The cover of Solomon Burke’s “Everybody Needs Somebody to Love” is a lot of fun, thanks to the great overall rhythm and Elwood’s lightning-fast stage rap, while James Brown and the Reverend James Cleveland Choir provide a blast of gospel music on “Old Landmark”. Aretha Franklin’s “Think” is explosive, and Cab Calloway’s “Minnie the Moocher” is slyly irresistible. Charles, Brown, Franklin, and Calloway all have small roles in the film, yet so does John Lee Hooker, but he’s not represented here.

Line-up:
- Elwood Blues / Harmonica, Vocals
- Jake “Joliet” Blues / Vocals
- Patti Austin / Vocals
- Richard T. Bear / Keyboards
- Margaret Branch / Vocals
- James Brown / Vocals
- Hiram Bullock / Guitar
- Cab Calloway / Vocals
- Ray Charles / Vocals
- Vivian Cherry / Vocals
- Rev. James Cleveland / Vocals
- Brenda Corbett / Vocals
- Steve Cropper / Guitar
- Louis del Gatto / Horn
- Arthur Dickson / Drums
- Donald “Duck” Dunn / Bass
- Murphy Dunne / Keyboards, Electric Piano
- Aretha Franklin / Vocals
- Carolyn Franklin / Vocals
- Terry Fryer / Keyboards
- Keith Ginsberg / Guitar
- Willie Hall / Drums
- John Hason / Keyboards
- Steve Jordan / Drums, Vocals
- Tom “Bones” Malone / Trombone, Horn, Saxophone
- Lou Marini / Saxophone, Vocals
- Ullanda McCullough / Vocals
- Matt Murphy / Guitar
- Bill Payne / Keyboards
- Elliott Randall / Guitar
- Alan Rubin / Trumpet, Vocals
- John Springer / Keyboards
- David Weston / Bass
- Larry Willis / Keyboards

Track List:
01. She Caught The Katy – 4:13
02. Peter Gunn Theme – 3:49
03. Gimme Some Lovin’ – 3:08
04. Shake A Tail Feather – 2:49
05. Everybody Needs Somebody To Love – 3:25
06. The Old Landmark – 2:59
07. Think – 3:16
08. Theme From Rawhide – 2:39
09. Minnie The Moocher – 3:25
10. Sweet Home Chicago – 7:51
11. Jailhouse Rock – 3:20

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Blues Brothers

Every Which Way – Every Which Way (1970) (@256)

28 Jun 2009

(Review from progarchives.com)

After “The Nice” disbanded, Keith Emerson finding further fame in “ELP”, bassist/vocalist Lee Jackson will form his own group “Jackson Heights”, Brian Davison will form his own group as well, the ultra low-key “Every Which Way”.

Produced by Davison, but holding only the drum stool, leaving the others take the spotlight, some of the members are known to progheads: Graham Bell on keys and lead vocals, and Allan Cartwright on bass are not exactly newcomers and Geoffrey Peach on flute and sax giving much interest in the group’s sound. Sonically, they sound like a proggy Ten Years After and Traffic.

This sole album is a very endearing oeuvre, lets it shown that Davison was much more than a candle-holder for Emerson. In a sort of progressive blues criss-crossing Traffic’s middle period (the wind player reminds of Chris Wood) and McDonald & Giles (with a touch of Van der Graaf Generator in the sax), the group pulls a very credible album, that most people looking for UK proto-progressive should hunt down.

The album boast relatively long tracks, that are filled with excellent interplay between all musos and frequently draw chills down your spine. Starting with the 9-min+ Bed (a solemn and meaty proggy blues number like Savoy Brown or Ten Year After can do them, but with added winds), the album veers in heavy Traffic towards Crimson territories with Castle Sand. It’s superb, especially with its psych/space outro. The last track on the first side was probably meant for radio airplay and reminds of early Traffic and is quite a charming ditty.

The second side of this album starts with yet another lengthy jazzy-bluesy, but this time more of the “Shoot at the Fantasy Factory”-era Traffic, with Bell’s vocals reminiscent of a certain Steve Winwood. Again plenty of time to develop the instrument breaks, Davison showing all of his finesse behind his kit. The sort “What You Like” is probably the album’s most gut-wrenching, with the horns shifting from Graaf’s Jaxon to Tippett-Boys Marc Charig. Finding plenty of space for an extended brass section, “The Light” shines all the way through the end of the album, with guitarist Hedley pulling a Neil Young-type of extended solo, giving all kinds of drama, plenty of goose bumps and the envy to spin the album again.

Generally the expression earthed gem or hidden gem is often over-used and when the time comes to use it advisedly, it is rather hard to come around meaning it, but in this case, it is real :). Nothing revolutionary or groundbreaking, but this album consolidates whatever ground was broken into by other preceding them.

Sadly the album sank without a trace at the time and a few months later, both Brian Davison and Lee Jackson teamed up with Swiss keyboard-wizard Patrick Moraz to create “Refugee”.

Line-up:
- Brian Davison / drums, percussion
- Graham Bell / electric piano, acoustic guitar, lead vocals
- Geoffrey Peach / reeds, flute, vocals
- Alan Cartwright / bass
- John Hedley / lead guitar

Track List:
01. Bed Ain’t What It Used to Be – 9:29
02. Castle Sand – 6:47
03. Go Placidly – 3:50
04. All in Time – 8:53
05. What You Like – 3:42
06. The Light – 6:16

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Brian Davison

Embryo – Apo Calypso (1977) (@256)

27 Jun 2009

(Review from gnosis2000.net)

Apo-Calypso continues in the same vein as Embryo’s previous albums, the first half of the album features refined fusion with funk influences, although “Endless Feeling” ends rather surprisingly with electronic impressionistic soundscapes.

The second half of the album consists of two long tracks: “Amnesty Total” is a beautiful nine-minute jazz rock track with an almost Canterburian vibe. Edgar Hofmann plays several good flute solos. The other track is a 14 minute trip into ethnic fusion with Trilok Gurtu on tablas and Shoba Gurta on vocals and tamboura.

Line-up:
- Roman Bunka / vocals, veena, oud, guitars
- Christian Burchard / vocals, organ, electric vibes & marimbas
- Butze fischer / drums, percussion
- Uwe Müllrich / bass
- Michael Wehmayer / keyboards
with
- Edgar Hofmann / flutes (5)
- Shoba Gurtu / vocals, tamboura (6)
- Trilok Gurtu / tabla (6)

Track List:
01. Break Into Pieces – 4:45
02. Endless Feeling – 7:21
03. Together – 5:42
04. Knast-Funk – 5:58
05. Amnesty Total – 9:11
06. Getalongwithasong – 14:13
07. Muhldorfsong (Bonus) – 6:24
08. Prisioneri Politici (Bonus) – 4:45

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Embryo

Embryo – Live (1976) (@320)

26 Jun 2009

(Review from gnosis2000.net)

The album Live from 1976 features a similar line up to “Bad Heads And Bad Cats” and the music continues in the same vein as well, although the live performances emphasize the ethnic music element a bit more.

Line-up:
- Maria Archer / vocals, percussion
- Roman Bunka / guitar, vocals, oud, percussion
- Christian Burkhard / vocals, drums, marimba, vibes
- Charlie Mariano / Alto & Soprano saxes, flute, nagasuram
- Dieter Miekautsch / electric piano
- Uve Müllrich / bass, dilruba, percussion
with
- Edgar Hofmann / flute (6)
- Geoffrey & Joseph / percussion (7)

Track List:
01. Bambus Railway – 5:14
02. You Can Tourn Me On – 13:12
03. Tiflis – 5:55
04. Road Song – 3:34
05. After The Rain – 3:26
06. Bambule – 3:55
07. No More Love – 4:39
08. Sho Do Ima – 1:21
09. The Orange Man – 7:14

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Embryo, Live

Embryo – Bad Heads And Bad Cats (1975) (@256)

25 Jun 2009

(Review from krautrockgroup)

‘Bad Heads and Bad Cats’ marks Embryo’s first release on April Records, an independent label which the group founded along with members of fellow German bands. The label was started with the intent of allowing the individual bands to record creative music independently and without the constant interference of a major record company.

The music here, while staying somewhat true to the groups avant garde nature, is a combination of funky jazz rock and ethnic influences. Embryo is led by the duo of Burchard and Bunka, resulting in longtime member Edgar Hoffman’s demotion to guest.

‘Bad Heads’ leads off with ‘Layed Back’, an average jazz rocker with a funky beat. Things pick up with ‘Nina Kupenda’, a 12-minute excursion into funky jazz tainted with ethnic percussion containing numerous solo sections. Following this is ‘Bad Heads’, an off the wall jazz rocker with a psychedelic flair. This track features some unique guitar work, a great ethnic percussion solo and a nice vocal performance from Maria Archer. ‘Road Song’ returns to a light jazz rock sound comparable to ‘Layed Back’, however, ‘Road Song’ is highlighted by simultaneous guitar and keyboard solos. ‘After The Rain’ is a fast paced jazzy instrumental featuring solid bass playing underneath catchy piano and flute solos. This is followed by the instrumental ‘Klondyke-Netti’. Driven by a moody bass and awkward minimalist electronic sounds, ‘Klondyke’ sounds like a predecessor to the quirky electronic instrumentals heard on Eno’s ‘Music For Film Vol. 1′. Finally, the album closes with the short experimental ‘Tag X’.

As a bonus, the edition of the album contains the 17-minute ‘Human Contact’, a free flowing jazz number with Eastern influenced saxophone and organ sections.

Line-up:
- Maria Archer / vocals, percussion
- Roman Bunka / vocals, guitar
- Christian Burchard / drums, vibes, marimba, vocals
- Edgar Hofmann / Soprano saxophone, flute
- Charlie Mariano / Alto & Soprano saxes, flute
- Dieter Miekautsch / keyboards
- Uve Mullrich / bass

Track List:
01. Layed Back – 5:38
02. Nina Kupenda – 12:09
03. Bad Heads – 4:09
04. Road Song – 6:17
05. After the Rain – 6:17
06. Klondyke Netti – 6:35
07. Tag X – 1:44
08. Human Contact (Bonus) – 16:56

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Embryo

Embryo – Surfin' (1974) (@256)

24 Jun 2009

(Review from progarchives.com)

Up to now, most Embryo albums can be called jazz-rock or fusion but with Surfin’ we’re definitely heading in the funk or jazz-funk spectrum, but also dips a bit all over the place with Caribbean musics such as calypso and more…

After the opening ultra-funk with almost rap vocals Turn Me On, the album heads into a bizarre mix of straight rock with more experimental passages (Music Of Today) and later in a weird funky jazz (Secret) that does hold some merits (Bunka’s guitar is quite excellent) and finally with the short title track, reeking of funk.

The same funk opens up the flipside on New Ridin’, but this time adding almost convincingly an Indian sitar to the mix. One can imagine a few LSD trip going awry at this point. A short intriguing “LunaMatic” and a lengthy “Broken Glasses” where the group gets into calypso music and although this track has definitive lengths, there are a few musicians who dissected these solos and breaks. The closing track is probably the highlight, most likely because it relates mostly with the other albums they did in that era.

Well if you’re into adventurous music and an Embryo fan, you might still want to check out Surfin’ because it has moments, but let’s face it, once the initial discovery, this album will be a rare spinner and collect dust on the shelves.

Line-up:
- Roman Bunka / guitar, bass, ring modulator, clavinet, sitar, saxophone, percussion, vocals
- Christian Burchard / drums, vibes, percussion, marimba, pianos, organ, Mellotron, vocals
- Uwe Müllrich / bass (2-7)
with
- Edgar Hofmann / Soprano saxophone (2-8), violin (3-7)
- Charlie Mariano / Alto saxophone (1), Soprano saxophone (3-8), flute (4-7), nagasuram (7)

Track List:
01. You Can Turn Me On – 5:07
02. Music Of Today – 4:14
03. Secret – 6:24
04. Surfin’ – 3:26
05. New Ridin’ – 3:49
06. In My Luna Matic – 1:32
07. Dance Of Some Broken Glasses – 9:06
08. Side Track – 6:00

Link in comments.

Embryo

Embryo – Bremen (Live 1971) (@256)

23 Jun 2009

(Review from allmusic.com)

This is an excellent early live recording from this group, done around the time of its second album, {^Embryo’s Rache}, and with all tracks taken from that record. It’s a fascinating juxtaposition between the psychedelic, jazz-rock of early embryonic Embryo and the embrace of ethnic music from around the world that characterized subsequent Embryo projects.

The album starts off with some tribal drumming, and moves onward into complex rhythms and lots of sax and flute solos and even a violin here and there. Because of Embryo’s ever-changing roster, the line-up includes only three of seven musicians from Embryo’s Rache, recorded in the same year as Bremen 1971, and with no keyboards, the dynamics of the live versions of the pieces are quite different.

The first three cuts, each about ten minutes in length, segue seamlessly together without a pause, while the politically charged “Spain Yes” is now expanded to nearly half an hour. With some odd vocal chanting on “Time” and lots of high-energy jazz-funk grooves throughout, Embryo’s performance is quite inspiring.

Line-up:
- Hansi Fischer / flute
- Christian Burchard / drums, percussion, vocals
- Al Jones / guitar, vocals
- Edgar Hofmann / saxophone
- Ralph Fischer / bass

Track List:
01. Try To Be – 10:32
02. Time : a) You Can’t Wait b) Evas Nuvola – 10:11
03. Tausendfubler – 8:27
04. Spain Yes, Franco Finished – 26:26

Links in comments.

Embryo, Live

Mirthrandir – For You The Old Women (1976) (@256)

22 Jun 2009

(Review from progarchives.com)

Mirthrandir was an obscure progressive band from New Jersey formed in 1973 during the heyday of Yes. This band played a complex and elaborated music based on breaks, contrasts and refinement. There are plenty of vintage Moog’s and Hammond organs. The flute is also an interesting addition to the sound. The group subtly mixed influences of Gentle Giant, King Crimson, UK, Yes and ELP.

Their sole album, “For You The Old Women” is an album of progressive rock with flute, keyboards, long tracks and lots of rhythm changes. Led by keyboards and guitar, the compositions are all very much in the traditional “progressive” style, with alternating moods, shifting time changes, and competent vocals that remind of Derek Shulman of Gentle Giant at times. This is an album that grows on you with each repeated listening.

Line-up:
- Robert Arace / drums
- Richard Excellente / guitar
- Simon Gannett / keyboards
- James Miller / bass, flute
- Alexander Romanelli / guitar
- John Vislocky III / vocals, trumpet

Track List:
01. For You The Old Women – 8:13
02. Conversation With Personality Giver – 5:38
03. Light Of The Candle – 4:23
04. Number Six – 5:06
05. For Four – 14:44

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Fairport Convention – Unhalfbricking (1969) (@256)

21 Jun 2009

(Review from progarchives.com)

Fairport’s third album was one of three released in 1969 by the band. The title was coined by singer Sandy Denny during a Scrabble type game travelling to a gig. The album as a whole is dominated by the fine vocals of Denny and the invention of Richard Thompson. The line up is largely unchanged from the previous “What we did on our holidays”, although Ian Matthews contribution consists only of vocals on one number (“Percy’s song”).

The centrepiece of the album is the progressive folk epic “A sailor’s life”, an 11 minute interpretation of a traditional song. Dave Swarbrick makes his first appearance with the band here, as violinist in a session capacity on 3 tracks and playing mandolin on “Million dollar bash”. Back to “A sailor’s life” though, which stands proudly as one of the first true examples of a progressive folk song. After a shanty type tale, the song moves into a lengthy building violin and guitar improvisation.

Sandy Denny contributes two similar songs. The first of these, “Autopsy” has a delicate vocal line and some fine guitar, while “Who knows where the time goes” will forever stand as one of the highlights of here entire career. Denny had previously used the song as one of her contributions to the work of the early Strawbs, but the version included here is the definitive rendition of this achingly beautiful composition.

Apart from the traditional “A sailor’s life”, the non-band compositions on the album are all written by Bob Dylan. The first of these, “Si tu dois partir” is based on his “If you’ve gotta go”. The songs is a piece of light-hearted fun, with future member (and partner for Denny) Trevor Lucas popping by to play triangle. Of the other Dylan songs, “Percy’s song” has the familiar “Turn turn..” anthem refrain (but not one from the similar “Turn, turn, turn” made famous by Byrds). “Million dollar bash” is another fun number.

While Richard Thompson’s influences can be found from start to finish here, his actual compositions are restricted the traditional sounding and slightly downbeat “Genesis hall” and the brief stomper “Cajun woman”.

In all, a superb folk rock album which features a true progressive folk classic. The band were clearly inspired in 1969 and working their socks off. There is still a residual American influence to be found here, but the west coast sounds of the first album are now largely suppressed, with even the Dylan numbers sounding Anglicised.

This would be drummer Martin Lamble’s last album with the band before he was tragically killed when the band’s van crashed on the way home from a gig. He was just 19 years old.

Line-up:
- Sandy Denny / vocals, harpsichord
- Richard Thompson / vocals, electric & acoustic guitars, electric dulcimer, piano, accordion, organ
- Simon Nicol / electric & acoustic guitars, electric dulcimer, backing vocals
- Ashley Hutchings / bass, vocals
- Martin Lamble / drums, stacked chair backs (2)
with :
- Ian Matthews / backing vocals (7)
- Marc Ellington / vocals (8)
- Trevor Lucas / triangle (2)
- Dave Swarbrick / fiddle (2, 4 & 5), mandolin (8)

Track List:
01. Genesis Hall – 3:41
02. Si Tu Dois Partir – 2:25
03. Autopsy – 4:27
04. A Sailor’s Life – 11:20
05. Cajun Woman – 2:45
06. Who Knows Where The Time Goes? – 5:13
07. Percy’s Song – 6:56
08. Million Dollar Bash – 2:56

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Ashley Hutchings, Fairport Convention, Sandy Denny

Mariani – Perpetuum Mobile (1970) (@256)

20 Jun 2009

(Review from sonobeatrecords.com, progressiveworld.net, wikipedia, blogcritics.org, amazon)

Sonobeat Records thought Vince Mariani’s remarkable talent and charismatic personality seemed the perfect centerpiece for a blues-rock band. The search began for guitar and bass players. At Vince’s invitation, fifteen-year-old Eric Johnson, who he had met a year earlier, dropped by the studio to audition and blew the recording company away with his ear-popping guitar pyrotechnics. Bass guitarist and vocalist Jay Podolnick eventually rounded out the band, later to be replaced by Jimmy Bullock. The newly-formed trio, named simply “Mariani”, began work creating new material.

After several practice sessions, the recording company thought the studio was too inhibiting for the group and rented a 100-acre ranch. Equipment were set up in open field and the album was recorded over a period of three days. The resulting album, Perpetuum Mobile, with special effects, additional instrumentation, vocal overdubs, and the jazz intercuts, was completed over the month following the ranch sessions.

The cuts recorded for this album were not for the faint of heart or meant for top-forty airplay, some are comple jams that run for over five minutes. The music’s more than a little bit like Cream. Being that this is Vince’s band, he and his drums do get the spotlight most of the time but Eric Johnson is given plenty of space to shine. Johnson’s guitar tone is not as refined at this early stage of his career–opting for a more “fuzzed-out” tone reminiscent of Hendrix.

No national record labels bid for the Mariani masters and the album was never released commercially at its time.

Eric Johnson later became known for his success in the instrumental rock format; regularly incorporating jazz, fusion, New Age, and country and western elements into his recordings. Widely recognized for his guitar skills, Johnson’s stylistic diversity and technical proficiency have drawn praise from many great guitarists.

This issue of the album has the “B” side of Vince’s drum solo single and the Mariani single (the original versions of Re-birth Day and Memories Lost and Found) added as a “bonus”.

Line-up:
* Eric Johnson – Guitar, vocals
* Vince Mariani – Drums, vocals
* Jimmy Bullock – Bass
with
* Jay Podolnick – Bass, vocals
* Bill Wilson – vocals
* Darrell Peal – vocals

Track List:
01. Searching For A New Dimension – 5:39
02. Interlude – 0:31
03. Re-Birth Day – 5:52
04. Interlude II – 0:30
05. Things Are Changing – 4:45
06. Interlude III – 0:35
07. Lord, I Just Can’t Help Myself – 2:55
08. The Unknown Path – 5:58
09. Euphoria – 11:28
10. Message – 2:22
11. Windy Planet – 6:08
12. Re-Birth Day (45″ Version) – 3:05
13. Memories – 2:08

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Tabula Rasa – Ekkedien Tanssi (1976) (@256)

18 Jun 2009

(Review from wikipedia, progarchives.com)

1976′s “Ekkedien Tanssi” saw some changes in personnel. Jarmo Sormunen was gone, Jukka Aronen replaced Pakkanen on percussion, and keyboardist Jarno Sinisalo replaced Pembroke. Vocalist Jukka Salmela took the lead on the last two tracks. Wigwam’s Jukka Gustavson made a guest appearance, and co-produced the album.

This second effort sounds more symphonic, due to the wider range of keyboards. The titletrack features more refined and flowing guitarwork, only the song “Kehto” delivers wah-wah drenched guitar play. The organ and guitar duets like in “Uskollinen” and “Omantunnon rukuos” are delightful. The hints are more from Camel, this is most obvious on the final composition “Saastu mun paa” featuring a wonderful and compelling guitar solo.

The band quit in 1977, Silvennoinen stating that matters such as the decline of the popularity of progressive rock and the religious awakening of some group members contributed to the split of the group.

Line-up:
- Heikki Silvennoinen / guitars
- Jarno Sinisalo / piano, electric piano, organ, string synthesizer, synthesizer, harpsichord
- Tapio Suominen / bass
- Jukka Aronen / drums, timpani, percussion
- Jukka Leppilampi / vocals, backing vocals (1-9)
- Jukka Salmela / vocals (10-11)
- Jukka Gustavson / backing vocals

Track List:
01. Ekkedien Tanssi – 4:48
02. Uskollinen – 6:11
03. Aamukasteen Laiva – 4:01
04. Omantunnon Rukous – 6:09
05. Lasihelmipeli – 4:13
06. Rakastaa – 2:59
07. Kehto – 4:10
08. Babyla Rasa – 3:22
09. Saasta Mun Paa – 5:34
10. Rakastatko Viela Kun On Ilta (Bonus) – 4:29
11. Yksin (Bonus) – 3:24

Link in comments.

Tabula Rasa

Tabula Rasa – Tabula Rasa (1975) (@256)

18 Jun 2009

(Review from wikipedia, progarchives.com)

Tabula Rasa was founded at Kangasala in 1972. Heikki Silvennoinen wrote most of the songs, while Mikko Alatalo assumed the role of writing lyrics, a well known Finnish musician who was never an actual member of the band. Along with opening for Wigwam, the band gained notoriety by becoming runner up in the 1972 “Best Finnish Pop Group” contest.

Their music is progressive and resembles some of the recordings of Jethro Tull as flute has been given a strong role. Lyrics are sung in Finnish. The band was later considered a major Finnish progressive rock group in 70s, though it is overshadowed by Wigwam and Tasavallan Presidentti. The music is mellow, and melodic. The obvious comparisons are made to their Finnish contemporaries, but there is also a strong resemblance to Camel (and even a bit of Steve Hackett).

Most of the songs are raw, mainly due to the fiery guitarplay play from Heikki Silvennoinen. Another strong element is the flute play like in “Gryf” and Vuorellaistuja”. More mellow are “Tubo” (dreamy vocals and delicate pinao) and “Prinssi” (sensitive piano and electric guitar). In fact the music from Tabula Rasa is very melodic, often culminating in pleasant guitar – and flute duets, evoking Jethro Tull and Camel.

Line-up:
- Heikki Silvennoinen / guitar
- Jukka Leppilampi / vocals
- Tapio Suominen / bass
- Asko Pakkanen / drums
- Jarmo Sormunen / flute
- Jim Pembroke / piano

Track List:
01. Lahto – 3:56
02. Miks’ Ette Vastaa Vanhat Puut – 3:10
03. Tuho – 6:22
04. Gryf – 6:37
05. Tyhja On Taulu – 4:11
06. Nyt Maalaan Elamaa… – 4:06
07. Vuorellaistuja – 8:15
08. Prinssi – 3:09

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Tabula Rasa

John Mayall – A Hard Road (1967) (@256)

16 Jun 2009

(Review from allmusic)

Eric Clapton is usually thought of as John Mayall’s most important right-hand man, but the case could also be made for his successor, Peter Green.

The future Fleetwood Mac founder leaves a strong stamp on his only album with the Bluesbreakers, singing a few tracks and writing a couple, including the devastating instrumental “Supernatural”. Green’s use of thick sustain on this track clearly pointed the way to his use of guitar riffs with elongated, slithery tones on Fleetwood Mac’s “Albatross” and “Black Magic Woman”, as well as anticipating some aspects of Carlos Santana’s style. Mayall acquits himself fairly well on this mostly original set (with occasional guest horns).

Highlights include the uncharacteristically rambunctious “Leaping Christine” and the cover of Freddie King’s “Someday After a While (You’ll Be Sorry)”.

This edition of the album includes 14 bonus tracks, consisting of single, live renditions and unreleased tracks.

Line-up:
* John Mayall – vocals, guitar, harmonica, piano, organ
* Peter Green – Guitar, Vocals
* John McVie – Bass
* Mick Fleetwood, Aynsley Dunbar – Drums
* Paul Butterfield – Harmonica, Vocals

Track List:
01. A Hard Road 3:10
02. It’s Over – 2:50
03. You Don’t Love Me – 2:49
04. The Stumble – 2:53
05. Another Kinda Love 3:05
06. Hit The Highway – 2:16
07. Leaping Christine – 2:23
08. Dust My Blues – 2:47
09. There’s Always Work – 1:34
10. The Same Way – 2:11
11. The Super-Natural – 2:56
12. Top Of The Hill – 2:39
13. Someday After A While (You’ll Be Sorry) 3:01
14. Living Alone – 2:28
15. Looking Back (Bonus Single A-Side) – 2:37
16. So Many Roads (Bonus Single B-Side) 4:44
17. Mama, Talk To Your Daughter (Bonus Live) – 2:39
18. Alabama Blues (Bonus Live) – 2:31
19. All My Life (Bonus w/Paul Butterfield) 4:24
20. Ridin’ On The L&N (Bonus w/Paul Butterfield) – 2:27
21. Eagle Eye (Bonus) – 2:53
22. Little By Little (Bonus) – 2:47
23. Sitting In The Rain (Bonus Single A-Side) – 2:57
24. Out Of Reach (Bonus Single B-Side) 4:44
25. No More Tears (Bonus Live BBC) – 2:17
26. Ridin’ On The L&N (Bonus Live BBC) – 2:19
27. Sitting In The Rain (Bonus Live BBC) – 2:52
28. Leaping Christine (Bonus Live BBC) – 1:54

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John Mayall, Peter Green

Sonus Umbra – Digging for Zeros (2005) (@256)

15 Jun 2009

(Review from prog4you.com)

“Digging For Zeros” is made up of 20 tracks with the longest being just over 7 minutes. But there are many shorter tracks clocking in around 2 minutes or less…and this is what makes the album really stand out. These “connecting” tracks make for a very varied album running the gamut of sweet acoustic, symphonic music to full blown progressive metal.

The band parted ways (hopefully temporarily) with their lead singer Andres Aullet. His airy, spacey vocals were an integral part of the band’s sound. Luis Nasser (bass and “mastermind” of the band) has taken over the spoken, more airy vocals with drummer Jeff Laramee now taking charge of much of the lead vocals. Long-time contributor Lisa Francis (also of Kurgan’s Bane) is now a full-member, donating her beautiful voice to almost ˝ of the lead vocals. But it’s Laramee’s vocals that are the big surprise. Leaning more towards the metal side, this addition to the Sonus Umbra sound widens the scope of the ban. A few tracks even have that growling “cookie-monster” sound. But this is quickly counter-pointed by Lisa Francis’ sweeter vocals.

Originally written as one long concept piece, the album was broken into 20 tracks to make it easier to navigate. But why would one want to start the album half-way through it? This is the type of album that grabs you from the start and takes the listener on a ride that begs to be listened to from beginning to end. The flow of the music is so seamless that unless you’re following along you won’t know what track is being played.

The opening track “Zero” starts out with spacey keyboards and fuzz lead guitar that would be at home on any Pink Floyd album. This quickly evolves into a thumping bass line and vocals that Alan Parsons would be proud to release. On the 6th track “Foreshadows” we have the sounds of someone’s footsteps aimlessly walking in the streets, a distant heart beat and the sounds of screaming and broken glass that heightens the tension of what’s to come. Similarly the sound effects and muttered spoken vocals on “Serial Grounds” further enrich the concept of the album. The rest of the album continues with this journey of sounds.

This is very lush music with acoustic guitars, strong electric guitar leads, fat keyboards and deep bass line. The production is crystal clear and unlike many other current-day albums, it never becomes over-processed. It’s a pleasure to hear such well recorded music!

Line-up:
- Luis Nasser / bass, acoustic & crunch guitars, keyboards, backing vocals
- Ricardo Gomez / electric & acoustic guitars
- Jeff Laramee / percussion, vocals
- Pablo Garcia / keyboards & vocals
- Andy Tillotson / acoustic & electric guitars, backing vocals
- Lisa Francis / vocals
with:
- Adam Zygmunt / French horn (20)

Track List:
01. Zero – 2:03
02. Scream – 2:53
03. Sleepwalker – 2:16
04. Children of Cain – 0:53
05. The Laughter of the Dead – 2:08
06. Foreshadows – 2:13
07. Invisible World – 4:44
08. Serial Grounds – 1:46
09. Infestation – 7:09
10. Spleen – 2:54
11. Bloodstains in Paradise – 5:59
12. Meme Puppet Waltz – 3:12
13. Dead Numbers – 1:53
14. Devils Promise – 1:52
15. Aleph – 3:28
16. The Great Fall Inwards – 4:57
17. The Music of the Primes – 4:26
18. From the Ashes – 0:54
19. Pariah – 3:26
20. Infinity – 2:10

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Sonus Umbra

Sonus Umbra – Spiritual Vertigo (2003) (@256)

14 Jun 2009

8 comments

(Review from progressor.net, progressiveworld.net)

Sonus Umbra was always notable for a unique and immediately recognizable sound, and the band’s new album is no exception to this rule, as well as an amazing ability to combine complexity with accessibility still remains one of the central hallmarks of their creation.

All the compositional and performance aspects of “Spiritual Vertigo” are marked with distinct signs of a highly increased maturity. The attempts to play both heavy and intricate on “Snapshot from Limbo” are continued and successfully developed on “Spiritual Vertigo”.

The album opens with “Bone Machines”, which matches churning bass, industrial percussion, with strained, thin steel-stringed guitars that flit and flutter like the angelic figures on the cover. “Fools Arcadia” begins and ends with plucked guitar and tinkling piano, in a gentle, whispy piece (though for the ending passage, Nasser’s bass can also be heard) but in the middle this takes on a darker tone. “Man Of Anger And Light” is more of a tango as bass and percussion dance with each other to the guitar’s rhythm, vocals leading the way. Drums are at the forefront with “Self-Erosion”, maybe a little too much up front. Shimmering guitar makes a nice appearance in “Timequake”, though really the guitar work here throughout is quite nice. The subtly “ticking clock” sound of the percussion (actually, it sounds like a xylophone and so could be keys) that “ticks” faster than a clock and comes in contrast to the Allut’s relaxed delivery is amazing. We do get an intensely rhythmic bit at the end.

The album’s epic, both in terms of intensity and length is “Snakes & Ladders,” which takes every element that has come before and brings it all to bear. In it you hear echoes of “Bone Machine” (perhaps it’s the industrial percussion), but there’s also the dark and grinding elements from that track and later pieces that tie everything together.

The track that shifts style is “Amnesia Junkies.” What comes first is the guitar led “Amnesia Junkies Pt 1 (Pax Americana)”. Laramee portrays Reverend Phillip T. Phister, it’s a “stage play” kind of presentation, though the Rev is a televangelist. Francis guests here as Lady Liberty. This part of the song is “A little ditty on the malaise and the hypocrisy that lie at the core of the world’s ‘greatest democracy’…” In other words, how soon we forget our own injustices perpetuated on others when condemning that of others… and then committing our new injustices… “Amnesia Junkies Pt 2 (Pax Israelica),” is much darker, throatier – both literally in that Laramee deepens his voice, but also instrumentally… darkly throbbing bass, drums, with contrasting piano. This second part asks a provocative question, and one that surely brings up debate: has Israel forgotten how Jews were treated at the hands of the Nazis in their own treatment of the Palestinians? And you can see the parallels between part 1 and 2.

“Rust In My Sleep” falls somewhere between the dreamier tracks and the one mentioned above. It features Laramee and Francis on vocals and yet often has the hazier feel of the rest of the album. And be prepared for the end of the album, as it comes after a long bit of silence… have it too quiet and you’ll only hear the final gunshot… too loud and that gunshot is like to have you jump out of your skin. And yet, it is effective at any volume.

Though “Amnesia Junkies” seems out of place among the other songs, it effectively provides a break, a change of pace. There is nothing wrong with this album; it’s affecting in a subtle way, the lyrics inviting thought even as you hit “repeat” to listen again not just to the lyrics but to the interplay. It’s one of those unassuming gems that comes around not often enough.

Line-up:
- Andres Aullet / lead vocals
- Luis Nasser / bass, keyboards, acoustic & Crunch guitars, Odd vocals
- Ricardo Gomez / lead guitars
- Jeff Laramee / drums, vocals
with
- Lisa Frances / vocals
- John Grant / additional lead guitars

Track List:
01. Bone Machines – 5:56
02. Fool’s Arcadia – 8:40
03. Man Of Anger And Light – 4:18
04. Fascinoma – 7:10
05. Self-Erosion – 6:03
06. Amnesia Junkies Pt 1 – 4:19
07. Amnesia Junkies Pt 2 – 3:42
08. Timequake – 5:31
09. Rust In My Sleep – 3:31
10. Snakes And Ladders – 10:57

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Sonus Umbra

Sonus Umbra – Snapshots from Limbo (2000) (@256)

13 Jun 2009

(Review from progressiveears.com, myspace.com)

Back in the early 90′s, three science students from the national university in Mexico City, Andres Aullet, Ricardo Gomez and Luis Nasser got together to form a band called “Radio Silence”. From 1991 to 1994, the band played on, gaining a large cult following and a reputation for intense, unpredictable live performances. Inevitably, the band broke up, but the music and the meme lingered on.

In 1997, after auditoning for Kurgan’s Bane where he met the band’s future drummer (Jeff Laramee); Nasser set upon the task of embellishing a demo of original material recorded on 8-track tascam tape machine for release. During the course of this project, Nasser invited Gomez and Aullet back to the fold, and the end result was a demo album called “Laughter In The Dark”.

Nasser’s musical chemistry with Jeff Laramee made his addition to the band as a full member in 1998 inevitable, and certain unfortunate legalities forced the band to re-name itself as Sonus Umbra, which roughly means “Shadows Made Of Sound”.

Their first album under the “Sonus Umbra” moniker, “Snapshots from Limbo” is the kind of record that one can get hooked on from the very first listening. The reasons are obvious: first-rate musicianship, especially in the perfectly beautiful acoustic guitar passages (with Latin-American influences), excellent keyboard playing, great guitar solos and remarkable percussion work. Another important part of Snapshots from Limbo is the vocalist. Andreas Aullet’s voice is calm, warm and sometimes dreamy. However, his relaxed style of singing does not make the music monotonous, because there is also a female vocalist, Lisa Francis (as a special guest from Kurgan’s Bane), who adds diversity to the vocalizations. Together they create truly wonderful harmonies. The compositions from the album exemplify everything that progressive rock should be: long and complex structures, catchy melodies, outstanding solos. In a word, a great and original sound.

Line-up:
- Andres Aullet / vocals, Korg Trinity
- Ricardo Gomez / electric and acoustic guitars
- Jeff Laramee / drums, percussion, vocals
- Luis Nasser / bass, Korg 01W, acoustic guitar, vocals
with:
- Lisa Francis / vocals
- John Grant / electric, 12-string guitars
- Tapabrata Pal / tablas

Track List:
01. Ghost From The Past – 2:38
02. Doppelganger – 7:53
03. Seven Masks – 7:45
04. Demons – 3:51
05. Soul Dusk – 4:31
06. The Eagle Has Landed – 4:19
07. Erich Zann – 5:29
08. A Season In Hell – 4:56
09. Homo Homini Lupus – 7:53
10. Insects Part I – 2:53
11. Insects Part II – 4:54
12. Insects Part III – 4:29

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Sonus Umbra

Yes – Live At Montreux (2003) (@256)

12 Jun 2009

6 comments

(Review from allaboutjazz.com)

In 2003 Yes made their first appearance in their five decade career at the Montreux Festival. Since 1996′s Keys to Ascension, this is the first official album to feature the classic lineup of Jon Anderson, Steve Howe, Rick Wakeman, Chris Squire and Alan White.

That this line-up focuses primarily on music from its 1971-1977 glory days has been a source of some criticism, but with a performance like this one can easily forgive the group’s generally backward-looking stance. That said, the group’s 2001 tour (complete with symphony orchestra) in support of “Magnification” demonstrated a group on the creative upswing, and the two tracks performed at Montreux from that record—the title track and “In the Presence Of”—find this new material fitting right in with more well-heeled material from the past.

Performance aside, Live at Montreux also boasts its own distinction: nearly the entire Fragile album is recreated, including the seldom-performed “South Side of the Sky” and the even rarer “We Have Heaven.” Close to the Edge gets fair representation, with both the majestically symphonic “And You and I” and harder-edged “Siberian Khatru” (a longtime set opener) played as if the group’s life depended on it. If there’s one progressive rock band that can be accused of excess and pretension, Yes is it. But on the epic “Awaken”, the group proves its ability to approach subtleties of texture and ambience as adroitly as it does blinding technique and the occasionally over-inflated self-indulgence.

Live at Montreux 2003 confirms that, long in the tooth though it may be, Yes still has the power to deliver.

Line-up:
- Jon Anderson / vocals, guitar
- Steve Howe / guitars, back vocals
- Chris Squire / bass, back vocals
- Rick Wakeman / keyboards
- Alan White / drums, percussion, back vocals

Track List:
CD1
01. Siberian Khatru – 10:11
02. Magnification – 6:52
03. Don’t Kill The Whale – 4:28
04. In The Presence Of – 11:05
05. We Have Heaven – 1:34
06. South Side Of The Sky – 9:35
07. And You And I – 11:23
08. To Be Over – 4:20
09. Clap – 3:48
CD2
01. Show Me – 3:44
02. Rick Wakeman Solo Medley – 4:42
03. Heart Of The Sunrise – 11:17
04. Long Distance Runaround – 3:46
05. The Fish – 8:53
06. Awaken – 19:20
07. I’ve Seen All Good People- (I) Your Move – 7:09
08. Roundabout – 6:44

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Alan White, Chris Squire, Jon Anderson, Live, Rick Wakeman, Steve Howe, Yes

Rocky's Filj – Storie Di Uomini E Non (1973) (@256)

11 Jun 2009

(Review from progarchives.com)

Rocky’s Filj was formed in the early 70s from the Lombardia and Emilia areas. They played at the legendary Villa Pamphili pop festival and toured with Banco around that time. Their sole album, “Storie Di Uomini E Non” was released in the monster year of 1973 and was clearly overshadowed by the many classics which emerged at that time.

This album is what could be described as extremely red-blooded and dynamic, for the wild and thrill-seeking Italian fan. In its most frenzied moments it approaches an Area level of craziness but it also has a flip side that isn’t mellow, but slower, murkier, and strange. The album is paced well too with the three wilder tracks being 1/3/5 while the two breather tracks split them in the 2/4 position, giving the listener a true roller-coaster experience.

The music of Rocky’s Filj is a unique blend of heated fusion jamming with rather strange divergent avenues. The album plays out as do some of the more adventurous Italians albums in that you’re never sure what to expect, think about bands like Pholas Dactylus, Osanna, wed with jazzier fare like Area and Duello Madre. Bits and pieces of these groups will give you an idea what you’re in for here: heavy-hitting (mostly) jamming with persistent fiery guitar and lots of horns, the album is most likely to please fusion fans who like a little something different on the presentation.

The definite highlight of the album is the opener, “L’Ultima Spiasggia”. It is 13 minutes of pure madness that starts from the gate at light speed. Driving, booming bass and frenetic guitar lines spar incessantly with aggressive horns. There is a break for some eerie flute before the powerful and intense vocals begin. Then another strange section with strings leads back to the manic-paced finish. The second track “Il Soldato” finishes the side and this track could have inspired Kayo or Maudlin. This cool sounding double bass just floats along building tension over these strange, serene guitar chords and lost sounding horns.

Rocky’s Filj really deserved more consideration but unfortunately one of the members was jailed and the band disintegrated soon after the album was released.

Line-up:
- Rocky Rossi / alto sax, baritone sax, clarino, voice
- Roby Glabrovitz / electric guitar, flute
- Luigi Ventura / “Fender” bass, trombone
- Rubino Colasante / drums, double-bass

Track List:
01. L’ultima Spiaggia – 13:05
02. Il Soldato – 6:16
03. E – 3:56
04. Io Robot ! – 7:41
05. Martino – 5:39

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Finch – Making Of… Galleons Of Passion (1977) (@256)

10 Jun 2009

(Review from progarchives.com)

This archival recording of Finch contains 8 demo-versions for the LP “Galleons Of Passion”. Five of them eventually found their way on that LP.

The recording quality is excellent and the numbers closely resemble the original. Yet there are various delicate distinctions as regards to tempo, intensity of the solos and sound-coloring (the keyboards in particular) making this release a must for the true Finch adepts.

In addition to this the three remaining, previously unreleased tracks “Dreamer” (opulent as velvet with translucent guitar work and loosely woven strings), “Nightwalker” (playful with varied keyboard play) and “Phases” (exquisite build-up with a splendiferous interlacing of guitar and keyboard) are certainly no hand-me downs.

Line-up:
- Joop Van Nimwegen / electric guitar, acoustic guitar, guitar synthesizer
- Peter Vink / bass, Moog Tarurus pedal bass
- Ad Wammes / keyboards
- Hans Bosboom / drums

Track List:
01. Reconcilling – 8:36
02. Dreamer – 4:47
03. Remember The Future – 5:01
04. With Love As The Motive – 8:59
05. Night Walker – 3:00
06. Unspoken Is The Word – 7:51
07. Phases – 5:33
08. As One – 4:06

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Finch

Finch – Stage '76 (Live) (@256)

09 Jun 2009

(Review from progarchives.com)

This only live album of Finch contains over 70 minutes of fascinating live-performances from December 1976 (with Beer Klaasse still behind the drums).

Finch is at their best playing four numbers from the albums “Glory Of The Inner Force” and “Beyond Expression” recreating the unique live-atmosphere and performed with a passion that is guaranteed to give you goose bums.

Throughout the tracks there are various improvisations. On the track “A Passion Condensed” in particular guitarist Joop’s loops wind and twist around each other reaching a crescendo of pure white noise. Furthermore it’s interesting to notice how new keyboard player Ad Wammes manages to give the old Finch repertoire his own unique twist. With the help of his newly purchased Mini-moog synthesizer he artfully whips off many spectacular sounding solo.

As a cream on top of the cherry, the previously unreleased track ”Necronomicon” is performed on stage. It has a playing time of over 15 minutes — a typical 70s composition with extended soli on guitar, synthesizer and bass.

Line-up:
- Joop Van Nimwegen / electric guitar, acoustic guitar, guitar synthesizer
- Peter Vink / bass, Moog Tarurus pedal bass
- Ad Wammes / keyboards
- Beer Klaasse / drums

Track List:
01. Scars On The Ego – 9:33
02. Paradoxical Moods – 11:39
03. Necronomicon – 17:47
04. A Passion Condensed – 20:05
05. Pisces – 12:00

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Finch, Live

Kaleidoscope (US) – Pulsating Dreams (1967-70) (@256)

08 Jun 2009

(Review from allmusic.com)

Kaleidoscope (US) were arguably the most eclectic band of the psychedelic era, weaving together folk, blues, Middle Eastern, and acid more often and seamlessly than any other musicians. The California group were formed under the nucleus of multi-instrumentalists David Lindley and Chris Darrow in the mid-’60s. Adding fiddle, banjo, and various exotic string instruments such as the oud and saz to the traditional rock lineup, Kaleidoscope complemented their experimental sounds with taut and witty (if lyrically eccentric) songwriting. Other important members were Solomon Feldthouse, who specialized in the Turkish-style instruments, and Chester Crill, who, to make documentation just that much more difficult, sometimes used odd pseudonyms like Fenrus Epp.

With the exception of their mawkish forays into old-timey music, Kaleidoscope’s work holds up well. Their first three albums were their best, highlighted by the lengthy tracks “Taxim” and “Seven-Ate Sweet,” which are groundbreaking fusions of Middle Eastern music and rock. Kaleidoscope were a popular live act, even incorporating some flamenco and belly dancers into their performances. But in commercial terms their very eclecticism probably worked against them. Hit singles, too, were a difficult proposition for such a versatile group to get to grips with, although several of their 45s were pretty good. One of the best, “Nobody,” was a most unusual fusion of R&B and psychedelia that found the group backing veteran rock and blues greats Larry Williams and Johnny “Guitar” Watson.

Kaleidoscope’s eclecticism may have been a by-product of numerous personnel changes throughout the last half of the ’60s that would make the construction of a family tree a most unwieldy task. Darrow, in fact, only lasted a couple of albums; in 1970, shortly after their fourth album, they split up. Several of the group’s more important contributors reunited for an album in 1975 (although Lindley played only a small part); there was another reunion record in 1988.

This 3 CD set features the entire output of the band from 1967 to 1970. It contains the albums, ‘Side Trips’ (1967), ‘Beacon From Mars’ (1968), ‘Incredible Kaleidoscope’ (1969), & ‘Bernice’ (1970), singles & B-sides.

Line-up:
- David Lindtey / Banjo, Fiddle, Mandolin, Guitar, Harp Guitar, 7 String Banjo
- David Saul Feidthouse / Saz, Bouzouki, Dobro, Vina, Oud, Doumbek, Dulcimer, Rddie, 12 String Guitar and Vocals
- Fenrus Epp (aka Maxwell Buda) / Violin, Viola, Bass, Piano, Organ & Harmonica
- Chris Darrow / Bass and Vocals, Mandolin and Guitar
- John Vidtean / Percussion (Drums and Timpani)
- Pete Madtem / Dobro

Track List:
CD1
01. Egyptian Gardens – 3:06
02. If The Night – 1:47
03. Hesitiation Blues – 2:28
04. Please – 3:19
05. Keep Your Mind Open – 2:18
06. Pulsating Dream – 1:57
07. Oh Death – 3:27
08. Come On In – 2:08
09. Why Try – 3:40
10. Minnie the Moocher – 2:16
11. Elevator Man – 2:56
12. Little Orphan Nannie – 1:57
13. I Found Out – 2:10
14. Greenwood Sidee – 4:17
15. Life will Pass You by – 3:26
16. Taxim11:23
17. Baldheaded End Of A Broom – 3:14
18. Louisiana Man – 2:46
19. You Don’t Love Me – 3:59
CD2
01. Beacon From Mars – 12:32
02. Rampe Rampe – 3:34
03. Nobody – 2:36
04. Love Games – 2:30
05. Egyptian Candy – 3:01
06. Hello, Trouble – 2:06
07. Just a Taste – 2:14
08. Lie To Me – 2:47
09. Let The Good Love Flow – 2:11
10. Killing Floor (aka Tampe Arizona) – 2:44
11. Petite Fleur – 3:31
12. Banjo – 3:35
13. Cuckoo – 4:16
14. Severn Ate Sweet – 11:31
CD3
01. Sefan – 4:28
02. Chocolate Whale – 2:28
03. Another Lover – 2:47
04. Sneakin’ through the Ghetto – 3:19
05. To Know is not To Be – 2:16
06. Lulu arfin Nanny – 3:13
07. Lie and Hide – 2:53
08. Ballad of Tommy Udo – 2:49
09. Bernice – 2:43
10. Soft and Easy – 2:57
11. New Blue Ooze – 9:41
12. Why Try – 2:46

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Eloy – Chronicles II (1994) (@256)

07 Jun 2009

(Review from wikipedia, allmusic)

As the second of a two parts re-recorded hits compilation, Chronicles II contains songs from the years 1983-1992 and from the albums Metromania (1983), Ra (1988) and Destination (1992).

Jam-packed with astounding keyboard playing via Michael Gerlach, superb sound is prevalent on this album. While the music isn’t as quick or as soaring as Eloy’s early material, their vast creativity is evident in the subtle melodies and the light instrumental work.

The instrumentation is the delicacy, so any singing that is involved blankets the purity of the music even slightly, especially in German progressive where vocals are usually absent. An early Pink Floyd sound can easily be picked out of some of the slower tracks, like “All Life Is One”.

The last four tracks of the album represent Eloy as a duo, with only Bornemann and Gerlach at the helm, and it’s definitely noticed. Without Hannes Folberth on accompanying synthesizer and Hannes Arkona on guitar, the band suffers from a lack of power and thickness.

Chronicles II is an interesting journey into the latter part of this exciting progressive rock group.

Line-up:
- Frank Bornemann / vocals & guitars
- Michael Gerlach / keyboards
- Klaus Peter Matziol / bass
- Hannes Arkona / guitar
- Hannes Folberth / keyboards
- Fritz Randow / drums

Track List:
01. Escape to the Heights ’94 – 5:11
02. All Life Is One ’94 – 6:32
03. Nightriders ’94 – 4:41
04. Follow the Light ’94 – 9:49
05. Rainbow ’94 – 5:17
06. Voyager of the Future Race ’94 – 6:30
07. Fire & Ice ’94 – 5:11
08. Call of the Wild ’94 – 7:02
09. Prisoner in Mind ’94 – 4:28
10. Eclipse of Mankind ’94 – 6:30

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Eloy

Eloy – Chronicles I (1993) (@256)

06 Jun 2009

(Review from progarchives.com, wikipedia)

Usually compilation albums are only a collection of the “greatest” songs of a band. Hopefully organized chronologically. At times (guess why), an unreleased or rare song will be added to seduce the fans.

With “Chronicles I”, the band did much better. Eloy re-recorded these songs which gives a fresher angle, a more modern sound and better arrangements. A great idea and so much better than a usual compilation. Chronicles I contains songs from Ocean (1977), Silent Cries and Mighty Echoes (1979), Colours (1980), Planets (1981) and Time to Turn (1982) re-recorded and mixed in 1993. The album also contains one previously unreleased track from the album Destination (1992).

The two songs from “Ocean” and “Silent Cries and Mighty Echoes” are just phenomenal. An incredible journey in their spacey music. The versions for “Poseidon’s Creation” and “The Apocalypse” are sublime. Much better than in the original work. As such, their are brightly shining. The two indisputable highlights from this album.

“Poseidon’s Creation” is a psychedelic jewel. Rather hard-rocking as well. But this was how Eloy still sounded in the mid late 70s. Wonderful guitar break after the long intro. Gilmour is very close my friend. But “Floyd” has always been a major influence. The drumming is great, we also get some great synth parts (fully Banks oriented).

“The Apocalypse” is the song that benefits the most of this new life. More guitar oriented than the previous, it has a similar structure (long instrumental intro as well). The second part is just a jewel with great female vocals. A masterpiece.

The unrealised song “Spirit In Chains” is much more than a fan’s trap. This excellent song is a mix of “Yes” (vocals) and “Jethro Tull” (flute of course). It was a leftover of the “Destination” album, one of the few good songs from these sessions.

Not only is “Chronicles 1″ worthwhile on its own merits but it is likely the impetus for the release of two subsequent original recordings in the mid to late 90s that appealed to old fans while exploring new areas. Recommended for chronic afficionados and those wanting to start a tentative exploration of Germany’s most prolific symphonic prog band.

Line-up:
- Frank Bornemann / vocals & guitars
- Michael Gerlach / keyboards
- Klaus Peter Matziol / bass
- Hannes Arkona / guitar
- Hannes Folberth / keyboards
- Fritz Randow / drums
- Nico Baretta / drums
- Lenny Mac Dowell / flute

Track List:
01. Poseidon’s Creation ’93 – 11:31
02. The Apocalypse ’93 – 11:05
03. Silhouette ’93 – 3:11
04. Mysterious Monolith ’93 – 6:12
05. Sphinx ’93 – 6:23
06. Illuminations ’93 – 6:20
07. End Of An Odyssey ’93 – 9:16
08. Time To Turn ’93 – 3:35
09. Spirit In Chains ’93 – 5:51
10. Say It Is Really True ’93 – 4:25

Link in comments.

Eloy

Rhesus O – Rhesus O (1971) (@256)

05 Jun 2009

(Review from progarchives.com)

The French band Rhesus O was formed in 1971 by future Magma keyboarder Jean-Pol Asseline with musicians from the jazz and jazz-rock field and released one self titled record.

Soft Machine is the main influence to be found on the record and to a lesser extent Magma, Miles Davis and Frank Zappa. The record presents a melodic jazz-rock with folk and classical elements, based on an instrumentation of two keyboarders: Alain Monier on organ and Jean-Pol Asseline on e-piano and harpsichord, two bass players: Guy Pedersen on double bass and Francis Moze on electric lead bass, Thierry Blanchard on drums and Alain Hatot’s sax & flute arrangements.

Line-up:
- Alain Monier / organ, percussion
- Alain Hatot / saxophone, flute
- Jean-Pol Asseline / piano, harpsichord
- Francis Moze / bass, acoustic guitar, xylophone
- Serge Lenoir / bass
- Thierry Blanchard / drums, percussion
- Guy Pederson / bass
- Jean Stout / choir conductor

Track List:
01. Cigue – 2:42
02. Maldonne – 6:53
03. Crier Pour Donner – 5:32
04. Le Prophete Egare – 2:14
05. Preambule – 6:24
06. Eveil – 4:39
07. Outre-Tombe – 2:53
08. Parcours – 3:54
09. Nos Baignoires Sont Enchantees – 0:44

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Wishbone Ash – Power Of Eternity (2007) (@256)

04 Jun 2009

(Review from progarchives.com)

New album, a new member — Joseph Crabtree, this time replacing Ray Weston who has been on the roster for nearly two decades. Crabtree fits in well with the rest of the band, most probably due to extensive touring he has done with the band since joining.

The first three tracks are lyrically heavy but include a lot of solos and lovely melodies. The Power and In Crisis are especially catchy and will be the first two songs that will keep brining you back to the album. Then when you reach the fourth song in the album, Argus fans will certainly like the harmonies on Dancing with the Shadows which are very reminiscent of songs like Time Was or The King Will Come while still being very fresh and new.

The twin guitar harmonies have always been the highlight of Wishbone Ash albums and Muddy Manninen has done an excellent job to complement Andy Powell’s playing on a very much more intimate level than on Clan Destiny and it’s very easy to spot that the flow is a lot easier and the two styles work together a lot better. Nowhere is this more evident than the highlight of the album that is Northern Lights, a 3-minute instrumental. The haunting guitars bring you to a serene and sad landscape that truly displays what this new, brilliant incantation of the band are capable of.

The latter part of the album features more softer ballads but are interlocked with lush guitar melodies and catchy lyrics. The album ends on a strong note with Hope Springs Eternal, which has a lush rhythm guitar section bringing it in, and then escalating with a good drum work.

Line-up:
- Andy Powell / guitar, vocals
- Muddy Mannien / guitar
- Bob Skeat / bass
- Joseph Crabtree / drums

Track List:
01. The Power – 5:48
02. Driving a Wedge – 4:24
03. In Crisis – 6:35
04. Dancing with the Shadows – 5:55
05. Happiness – 4:24
06. Northern Lights – 3:05
07. Your Indulgence – 3:30
08. Growing Up – 4:38
09. Disappearing – 5:14
10. Hope Springs Eternal – 5:55

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Wishbone Ash

Wishbone Ash – Clan Destiny (2006) (@256)

03 Jun 2009

(Review from allaboutjazz.com, the-trades.com)

A new album and a new (Finnish) guitarist to complement Andy Powell, this time it’s Muddy Manninen’s turn who was already touring with the band since 2004.

Listening to the opening track, it’s absolutely uncanny to hear the tenor vocals mesh with the dual guitars that harmonize to create hooks. The effect is the same on the next track, “Dreams Outta Dust” but the little things make it sound different, including how the second vocal enters on the second line of the verse while a mandolin murmurs in the background. The largely original material on this disc, recorded in just over three weeks in Massachusetts, takes a variety of forms. “Healing Ground”, for instance, alternates a dirty guitar figure that acts as a refrain, the dynamics of which are highlighted by way the instruments drop out on the bridge to reveal a sole falsetto vocal.

Skeat plays various keyboards, while Manninen handles lap steel and slide (the way he decorates “Your Dog” demonstrates how he serves the song, instead of flashing pure technique). And for his part, Powell, still brandishing a Gibson flying-V guitar, does an admirable job on vocals and like his three compatriots, he knows that less is definitely more when it comes to soloing.

In fact, Clan Destiny keeps improvisation in tight rein. Wishbone Ash uses the studio as a means to craft smart arrangements, rather than confine jamming. Nevertheless, the quartet generates some momentum on “Steam Town”, while the instrumental “Surfing a Slow Wave” sounds at once everything like vintage Wishbone Ash and something more, its delicate tandem lines echoed in the melancholy of “Loose Change”.

The album is a mellow and moody mélange of well-crafted musicianship. Polished and professional, while still retaining a natural, earthy feel.

Line-up:
- Andy Powell / lead vocals, guitars, mandolin
- Muddy Manninen / vocals, guitars
- Bob Skeat / bass, piano, clavinet, vocals
- Ray Weston / drums, percussion

Track List:
01. Eyes Wide Open – 5:13
02. Dreams Outta Dust – 4:26
03. Healing Ground – 4:20
04. Steam Town – 4:00
05. Loose Change – 4:46
06. Surfing On A Slow Wave – 3:47
07. Slime Time – 4:53
08. Capture That Moment – 3:30
09. Your Dog – 3:32
10. The Raven – 4:46
11. Motherless Child – 4:04

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Wishbone Ash

Wishbone Ash – Bona Fide (2002) (@256)

02 Jun 2009